Laurie Uprichard (artistic director, Dublin International Dance Festival - Ireland) remarked that the situation of Hungarian dance is not dissimilar to the situation in Ireland, also a small country, however the technical level of performers in Hungary is higher, as Irish dance training is practically non-existent. She thinks that artists in general tend to work in isolation and many - perhaps choreographers more so, than theatre makers - have a hard time talking about their work and defining success for themselves, rather than trying to find it externally. According to Laurie, the role of cultural organisers is to introduce the work of artists coming from different parts of the world. She has been travelling to Hungary since 1992 and was pleased to see a younger generation of artists at dunaPart whose new kind of energy on stage she really appreciated.

Boo Friebel (associate producer, Lincoln Center Festival - New York, USA) was fascinated by the opportunity dunaPart offered to get to know the context in which local artists create - the studios where they work, the venues where they perform. She also appreciated the fact that presenters could go 'between disciplines' and move from text-based to movement-based work, as this mixture very much characterises the world of performance today. For her highlights of the platform were: Béla Pintér's Dievouchka and Kornél Mundruczó's Frankenstein Project. From the dance performances Krisztián Gergye's TEST was the one that struck her most.

Loughlin Deegan (artistic director, Dublin Theatre Festival - Ireland) spoke about Hungarian work that has been shown at the Dublin International Theatre Festival (Krétakör, Tamás Ascher, Viktor Bodó), arguing that the sense of deflation he and his colleagues sensed in the theatre and dance community during the platform is not justified. Abroad Hungarian theatre is considered vital and exciting, some of the best theatre in the world continues to be made in Hungary. He found the platform enormously beneficial and encourages the organisers to continue, as most importantly, it allows people access to work that you might not see touring the festival circuits around Europe, such as the work of younger artists and more experimental performances. He finds the Hungarian dance and theater scene very healthy where risk-taking and experimentation is the norm. According to Loughlin, great artists will emerge from this context... Excellence is excellence, he states, saying that the two projects he was most impressed with were also Frankenstein Project and Béla Pintér's performance.

Reflecting on the outcome of the morning discussions, he argues that they didn't work, because the moderators (and among them, he himself) were unhappy and unwilling to provide the feedback that was asked of them. He explains that cultural organisers, at worst, are the parasites of international theater and dance and, at best, they are genuine collaborators who facilitate for artists to make and tour work and bring their work to a wider audience. However, they are not critics and are not experienced in giving sensitive feedback. This has led to a reluctance on their part to be openly critical about the performances they had seen and to share 'undigested criticism', so he questions whether or not these forums can actually work.

Denis Lafaurie (manager, Le Cratère Scène nationale - Alès, France) came to dunaPart in order to find out what is happening in 'this part of Europe' and not primarily to 'shop' for performances. He was particularly interested by Frankenstein Project and Mother C. Speaking of dance, he found the performances less interesting, as he saw choreographies in line with trends that are no longer relevant in France. Not wishing to be judgmental, he said that this reflects the state of contemporary dance in Hungary and surely, there is a reason why solos, work on the inner self and expressionist forms dominate the local scene, but this is something French dance has left behind.

Christian Benedetti (director, Théatre-Studio - Paris, France), who is a theatre director and not a programmer, appreciated that thanks to dunaPart he could learn more about contemporary Hungarian theatre and also about how theatre-makers here respond to questions that the world poses them. In general, he finds that there are different types of artists: those who create in a 'traditional' context, using the accustomed tools and forms of artistic expression, and those who try to seek new forms and perspectives, new ways of questioning themselves. He draws a parallel between France and Hungary in this sense, as he says these two approaches are present in both countries. He argues that throughout Europe there are artists who find themselves asking the same questions and giving similar 'radical' answers: this sort of convergence is at the same time fascinating and troubling. However, according to Christian, the great majority of artists do not reflect on reality, but continue to create, using 'learned' forms of expression. He calls this 'dead' theatre for 'dead' people and thinks that one must fight against this, as directors, such as Árpád Schilling or Sylvain Creuzevault (France) do, or works like Frankenstein Project and Mother C who try to say something about the world and fight against their own habits.

Gundega Laivina (director, New Theatre Institute - Riga, Latvia) emphasizes the fact, that coming from Latvia, she finds that the two countries are in quite a similar position, regarding the artistic - dance and theater - scene. Hungarian theater has very mature personalities and a good balance between the director's and the actors' work, while in dance she felt that the technical level is strong, but conceptually and choreographically the work is weaker. She mentions the following projects: Frankenstein Project, Mother C and Dievouchka. She stresses that it is wonderful for a presenter to see three interesting performances at one platform and it is important that there are so many artists to present.

Beatrice Rossi (manager, Compagnie Drift - Zürich, Switzerland) explains how she had been working in Hungary for several years in the nineties, before leaving the country in '99. Primarily working in the field of contemporary dance, she was much happier with developments in the theater field based on the performances she saw at dunaPart. In dance she remarked that certain choreographers did not develop over the years, in fact, some have fallen back. She missed reflection on what is happening in the outside world, except for György Árvai's Pre-action which she very much appreciated. She criticised the technique of the dancers and said the lack of training is apparent. She found the platform's programme too charged and intensive, suggesting that perhaps it would be better to organise a separate dance and theater platform (alternating each year). Besides performances, she recommended including city walks led by local artists in the programme, as this helps the international guests get acquainted with the Hungarian political and social context.

Laura Stasane (dance curator, New Theatre Institute - Riga, Latvia) remarked that the most important result of dunaPart is that Hungary is no longer a white spot for international presenters and she was impressed by the pool of work presented on this occasion. She confirmed that, as other colleagues have suggested earlier, the gap between the Hungarian dance and theater scene is quite significant, but considered it healthy that the platform included both disciplines.

Audronis Liuga (director, Theatre and Cinema Information Centre - Vilnius, Lithuania) emphasized that instead of distinguishing old and new forms, perhaps one should focus on the 'honesty' of the work, as opposed to the 'lies' nurtured by the formal state theater system. An artistic event should not only touch a moment of 'truth', but also a precise moment in time and space. He mentioned four projects presented at dunaPart that achieve this: Frankenstein Project, Alibi, Mother C, and Dievouchka. All these works are crossing different art media, mixing it, but not for the sake of experimentation (as all experiments have already been done), instead they take the courage and address certain urgent questions and issues. This does not concern technical innovation, nor aesthetics, but the re-discovery of connections between artist and audience, artist and time, space and time - a series of fundamental questions. He stressed that these performances do not answer these questions (nor do they have to), as the most important thing is that artists ask questions.